An in-the-works UArts documentary will show what led to the school’s collapse

Amid the thousands of emails that filled his inbox, former University of the Arts professor Kyle Crichton never expected to receive a message like the one delivered at 6:19 p.m. on May 31.

Crichton froze as the news broke — president Kerry Walk said the school was closing in a week. And on June 7, the historic arts college officially shuttered its doors, leaving hundreds of students and educators wondering how and why the university suddenly collapsed.

Administrators blamed declining enrollment and unexpected financial challenges as the source of the dismay, while some UArts employees and union members pointed to alleged mismanagement. The closure sparked days of protests and class-action lawsuits filed by dozens of ex-staffers.

‘I started filming it’

With uncertainty still looming,Crichton grabbed his camera and began capturing student-led protests on the steps of Dorrance Hamilton Hall on June 5. The award-winning filmmaker had another project on the books, but he decided to chronicle the story he was experiencing and watching unfold.

“As it happened, I started filming it,” said Crichton, who received a Mid-Atlantic Regional Emmy for his work on the 2023 documentary Angel Dose. “I was disappointed financially, but I was also disappointed I wasn’t going to be teaching these kids.”

In need of a cinematographer and co-director, Crichton tapped fellow UArts graduatesKatie Supplee and Michelle Rose Goodwin, who agreed to be a part of the project, still in early stages and currently titled “Reckless Education.”

Along with capturing the devastation of the June 7 announcement, the three filmmakers have interviewed UArts students, staff, and faculty about the lasting affects of the shut down over the past four months.

Goodwin, the co-director and producer of the film, is hopeful the documentary will fully capture the frustrations, anger, and heartbreak felt among the UArts community in the days and months after the unforeseen closure.

“The school dissolving in the fashion that it did shook a lot of people’s foundations, took a lot of control from their lives, and made a lot of people feel powerless,” Goodwin said. “And I think this documentary is a way to try to give them that power back.”

Why did UArts close so suddenly?

Goodwin said they aren’t shying away from the school’s missteps, which ultimately led to its dissolution and Chapter 7 bankruptcy filing. But a goal of the documentary is to figure out what happened.

To unveil the full wreckage of UArts, Crichton said it’s a “multi-pronged” approach that requires the voices of city officials.

Crichton, Supplee, and Goodwin are hoping to land interviews with city council members and attorney general Michelle Henry.

“Art is such a good vessel for spreading ideas, and I feel like that’s what we’re doing here,” Supplee said. “We don’t want to just impact the Philly arts scene with the film. We want to speak to the shuttering of educational institutions as a whole.”

Next steps for production

Supplee, whose fiancé worked at UArts before the university closed its doors, said the small production crew is now following “displaced UArts students who were forced to transfer schools to pursue their creative arts career.”

With filming in full swing, Crichton said the team is aiming for a 2026 release. The next step is to add more interview subjects, researchers, and filmmakers to bolster up the production, and score additional funding to piece the self-funded project together.

The three filmmakers are funding the independent venture while balancing their daily work as documentarians and content creators.

Crichton is confident they can produce the film “rag-tag style” for $100,000. And as they bring on more contributors, preferably UArts alums, he believes the nearly two-year process will be worth the wait.

“It feels like we have lightning in a bottle, and we want to continue pursuing it,” Crichton said. “Things will unfold, and we’ve come to the realization that it’s going to be a little bit of time, but we’re prepared for it.”

For more information, visit recklesseducationfilm.com.

– The Philadelphia Inquirer

After years of decorating parties with balloons, this artist is now making art with them

North Philly artist Brian Ward grew up in the events industry. His family’s kitchen had three refrigerators and he ate Cheerios every morning with drapes, linen cloth, and other party decor hanging from both ends of the dining room table.

His parents, a baker and an event coordinator, brought him into the family business at age 14. He thought about being a part-time magician, party clown, or face painter to earn extra money for school clothes, but none of them stuck. The only one that did was balloon art.

Ward started out making inflatable hats, swords, and balloon animals at kids’ parties. Then he graduated to shaping archways and columns for prom send-offs, birthday bashes, weddings, and other celebrations.

After working as a balloon artist for a decade, Ward, now 26, is pursuing a different kind of art. Instead of contorting balloons into party-ready pieces, he is crafting sculptures and artwork with them. Only this time, they’d all be deflated.

“I wanted to create something that lasted longer with balloons as my medium,” Ward said. “Balloon decor doesn’t have much life expectancy, and I didn’t want to jump to painting or carpentry. People know me as a balloon artist, so I wanted to merge the two.”

With pencils, markers, paint, glue, and deflated balloons, he has made sculptures of basketballs and small dogs. He has also reimagined one of Evelyne Axell’s paintings, whose work inspired Ward to explore vibrant colors.

It’s a tedious process, Ward said. The materials are a small cost, but a typical art piece can take anywhere between 18 hours to three weeks to complete. But he’s found his rhythm and grown more confident in his artistic pursuits.

He went from selling $300 balloon decor packages to $2,000 art pieces bought by a big-name entertainer. And now he’s ready to show his work to a wider audience.

Ward has been a part of hundreds of events, but on Saturday he is putting on his first art show, for nearly 400 attendees at the Bridge Studio in Philly. The self-funded exhibition, titled “Who is Brian Ward?” will be filled with interactive art pieces and installations, including a play pit full of balloon-made balls.

Kamaya Jackson, a friend who has watched Ward evolve as an artist, said he’s always had the ambition to go big, and she’s happy others will get to see his art and know his story.

“I want [Ward] to feel the love the community has for him,” Jackson said. “I hope he can soak up that moment and see how much of an impact he’s made on that community. Just all the good things that can happen, that’s what I want it to be.”

Ward’s first canvas painting will be a highlight of the show.

His father, Brian Ward Sr., gifted him a canvas in July 2023. Ward used it to craft a balloon-filled collage that was inspired by the last painting his grandfather, John Ward Sr., made before his death in 2013.

Ward gifted the canvas back to his dad, who loved it. His father’s reaction gave Ward the confidence to fully pursue his new artistic journey.

“I knew my dad would be proud,” Ward Sr. said. “He was already proud of his grandkids, but he didn’t get a chance to see Brian do the art that he’s doing now. I know he would be proud to see it, and I think that was reassurance for [Ward].”

While the art world is relatively new ground for Ward, he’s establishing himself as an ascending talent. His first and most notable collector is Grammy-nominated artist Smino, who purchased a balloon-made painting of Mickey Mouse during the 2024 Roots Picnic weekend.

The transaction, Ward said, was nothing short of motivational. “[Smino] was like, ‘I’ll Zelle you the money right now. Just ship to L.A.,’ and I’m like, ‘Bro, I’ll carry this jawn on my back and bring it to you.’ I was on my cloud nine after that.”

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His new venture hasn’t been without its detractors. Longtime friend Alissa Smith said Ward has encountered naysayers throughout his artistic journey. But the entrepreneurial spirit his parents embedded in him continues to push him forward.

“People didn’t believe in his vision,” Smith said. “He overcame doubt and slower [business] seasons as a balloon artist. People told him it’s not really a normal job. But I think he took that adversity and used it as motivation. He’s created so many different connections, and I’ve seen him push past people not believing in him or trying to slow him down.”

While Ward is still developing his artistic style, he has never questioned whether he had a story to tell. The Strawberry Mansion resident said his upbringing is one of the pillars of his creativity, and he’s driven to inspire others to create their own art — whatever medium they may choose.

“I always tell people I’m inspired by life,” he said. “Some people may say that’s cliché, but I’m inspired by the possibilities of the things that you can do. And I’m just continuing to write my story.”

– The Philadelphia Inquirer

Artists, advocates, and family members rush to save artworks inside UArts

Legendary Philly artist Sam Maitin built a life and career at the University of the Arts. A nearly 50-year-old painting of his still adorns the northside stairwell of the former Gershman Y building, owned by UArts since 2000. The three-panel painting — with a 16-foot-long central piece and two 8-by-4-foot flanking paintings — bursts with vibrant colors.

After the sudden announcement of UArts’ closure, Maitin’s daughter, Ani, made a trip to the arts college to ensure her father’s work would be saved. She covered the triptych with sticky notes with her email and phone number. She left another Post-it with a more urgent message: “Anyone told to remove these artworks please contact me in advance. They require special handling.”

Former staff member Elisa Seeherman understood the urgency.

“It’s not just about the monetary value of these pieces, it’s about the historical value of them,” said Seeherman, who was the school’s director of career services. “He was a Philadelphia icon.”

Ani Maitin talked to Seeherman, UArts Board members, and a representative from the company handling the closing of UArts, and was told she could take custody of the paintings. Still, much like the fate of the students, faculty and staff of UArts, the future of Maitin’s work — and that of many other pieces in the UArts system — remains up in the air.

Seeherman said it would take a crew to remove Maitin’s painting from the building, most recently home to the UArts’ Student Center and Lightbox Film Center. The biggest issue, she said, is finding a place that will properly restore and house the slightly abraded artwork.

“These pieces are huge and won’t fit into most homes,” Seeherman said. “It’s complicated. And that’s probably why the former Gershman Y people left them in the building after they left.”

Sam Maitin: Mayor of the Arts

Sam Maitin was born in 1928 above a grocery store run by his Russian Jewish immigrant parents in North Philadelphia.

After graduating from Simon Gratz High School at age 16, he won a citywide art scholarship to the Philadelphia Museum School of Industrial Arts, now known as UArts. He simultaneously attended the University of Pennsylvania, and would later go on to teach at both schools and the Moore College of Art and Fleisher Art Memorial. He died in 2004.

“His work is an important piece of Philadelphia. But whether or not people loved his work, he was recognized as an endlessly generous person who did so much for other people and organizations,” Ani Maitin said. “It’s an incredible gift to manage his work. ”

The “Mayor of the Arts” — as Maitin was often called — was connected to the Gershman Y through his involvement with the center’s Y Arts Council. He was the in-house designer during the 1960s, working with figures like Joan Kron, Audrey Sabol, and others to promote the Arts Council’s visual, literary, and performing arts programs.

He was commissioned to create a set of paintings for the building’s lobby, and the result was the vibrant three-panel painting adorned with a Hebrew message that represented the mission he and the culture center shared.

The Hebrew phrase “Al tafrosh min hatzibur” translates to “Do not separate yourself from the community.” The painting also contains “Simcha” and “Sasson,” which translates to “joy” and “happiness.”

“I think the message still translates today,” said Craig Stover, Maitin’s former studio assistant and longtime friend. “If UArts made it their mission, their closure may not have happened.”

When the painting was unveiled in the early 1970s, Ani Maitin was only in preschool. But she remembers how it enlivened the Jewish family center, even as the building took on other iterations. “It felt very much like home to me when I was a kid,” she said.

An uncertain future

On Monday, Ani Maitin received a phone call from Alvarez & Marsal, the company tasked with managing and liquidating UArts properties after its closure. Though the consulting firm didn’t respond to The Inquirer’s queries, it informed Maitin that she or anyone from her family could come take Sam Maitin’s artwork from the building.

“Given the circumstances, I’m now feeling more reassured that the company is making efforts to handle things thoughtfully,” she said. “It’s all definitely an unexpected and time-consuming part of caring for my dad’s work and legacy.”

Ani Maitin said she’s scouting for nearby preservation sites and hopes to find a place to house the paintings soon. Her trip to UArts, however, opened her eyes to another glaring problem: No one knows what’s happening to other artists’ works displayed on campus.

“It was clear to me it wasn’t just about my dad’s artwork,” she said. “I felt like I was channeling my dad because he was such an activist. He taught me when you do something, you do it to uplift others too. Don’t just do things to support yourself.”

Based on their phone call, Ani Maitin said Alvarez & Marsal intends “to take their time to deaccession” the other works on UArts campus. This process involves the removal of artwork from an institution’s collection in order to sell or dispose of it. But no further details were provided, she said.

UArts faculty and staff can submit access requests to retrieve their personal items from university buildings, but it’s unclear whether the families of artists are given the same courtesy — or what will happen to artworks that don’t have family advocates like Ani Maitin.

An art piece has slipped through the cracks before, Seeherman said.

In June 2022, Seeherman said, she held a meeting to express concern for a sculpture named A Woman of Courage by Gladys Barry, a donation that had been in the Gershman Hall foyer since 1979.

With a new lobby construction set to begin, she was worried the sculpture would get damaged or misplaced. And when the construction project was completed in 2023, her fears were proven right — the sculpture was missing.

Seeherman is hopeful that outcome can be avoided this time around, citing the work of Ani Maitin and what others are doing to advocate for artists’ work on UArts campus.

“I wish [the art] could find a home where it can be appreciated for the art it is. Whether it’s in a museum, a private collection, or goes back to any of the families connected to it,” she said.

“UArts may have closed, but we’re still a community.”

– The Philadelphia Inquirer

A stolen musket from the Revolutionary War returns to Philly

An 18th-century musket that’s linked to the Revolutionary War was stolen in 1968 from Valley Forge Park, leading to years of investigation. When the cherry wood and brass-made firearm, once a part of the Valley Forge Historical Society Museum collection, went missing, it left many historians and investigators in limbo for decades.

But with help from Upper Merion Township detectives and the FBI’s Art Crime Team, the prized relic was returned to the Museum of the American Revolution on Monday.

The .78-caliber musket was displayed on a blue cloth-covered table, just under the dramatic painting, Siege of Yorktown in Virginia. Museum president and CEO Scott Stephenson held the antique in his hands, noting how the details etched in the gun’s 45-inch barrel and engraved butt plate noted its historic origins.

“There were no machines cranking these parts out,” Stephenson said. “This is literally hammer in hand, steel, iron, brass, and wood carefully pinning these pieces together.”

The retrieval of the 250-year-old firearm was a battle on its own. Until recent months, there was no trace of the musket for 56 years.

In 2009, Kevin Steele of the Montgomery County District Attorney’s Office reopened a cold case on the theft of antique firearms from the Valley Forge Historical Society Museum and several law enforcement agencies joined the effort to retrieve them. Among these firearms was the New England musket.

On the local level, Upper Merion Township Detectives Brendan Dougherty and Andrew Rathfon were tasked with retrieving the musket, as well as other Revolutionary War antiquities. Between 2016-2022, they were joined by the FBI Art Crime Team, the U.S. Attorney’s Office, and others on the investigation.

The collective effort resulted in the arrest of two people and the recovery of 50-60 historic items that were returned to 25 different museums along the East Coast. But dozens of artifacts were still missing, including the treasured musket.

In March, Massachusetts-based arms appraiser Joel Bohy spotted an early 1770s firearm during an antique gun show in Baltimore, which ended up being the one stolen from Valley Forge Park.

Bohy knew it was Rhode Island-made. The engraved butt plate signals its New England origins. But he didn’t know the significance of the artifact until he saw a press release from Upper Merion Township detectives.

“When I first saw the gun at the show, I was pretty excited about it because it’s a really rare gun,” Bohy said. “It was even more exciting when three weeks later, Upper Merion Township police sent me a press release with the missing things retrieved from the cases they worked on before. As as soon as I saw [the musket], I clicked on the images and went, ‘Oh my God, I saw this gun weeks ago.’”

Bohy reached out to Dougherty and Rathfon, who he had worked with on cases before. The next day, the FBI team interviewed Bohy, and the two parties were able to track down the musket and deliver it to the insurance solutions company, Chubb.

Chubb paid the insurance claim for the missing relic back in 1969, which meant that it was now its official owner. Since the Museum of the American Revolution acquired the collection of the Valley Forge Historical Society back in 2003, the organization decided to gift the musket to the museum.

“We’ve obviously devoted many years to this investigation and we’re still going. But it’s special because it was stolen from our home,” Dougherty said. “And to know after 56 years it’s home is nice because it’s such a local historic item.”

With the firearm now in the hands of Stephenson and the museum’s curators just days before July Fourth, Chubb executive Maria Thackston said it’s a “poetic” story of repatriation.

“We’re thrilled to give it back to them, allow them to continue to study it, and make it available for the public to enjoy it,” she said. “It’s our privilege.”

While there are no current plans to exhibit the rare firearm, the museum will continue to study the artifact until plans for display unfold at a later date.

Staff writer Raymond Ragland contributed to this article.

– The Philadelphia Inquirer

Jill Scott is ‘really tickled’ to be featured in a new mural at her alma mater, Girls’ High

After years of fiercely repping her hometown, Philly’s very own legendary vocalist Jill Scott was honored at her old stomping grounds.

On Thursday, Mural Arts unveiled a mural of Scott during a 175th-year celebration of her alma mater, Philadelphia High School for Girls. “I want to live in the moment,” Scott said in a Zoom interview before the ceremony. “I’m very touched and thrilled. I cannot believe this.”

The mural is designed by artist Patrick Dougher and features Scott coronating young girls with replicas of the same golden crown she wears on her head. The Latin phrase “vincit qui se vincit” comes out in a wave from under Scott’s halo-like Afro. It translates to “She/He conquers who conquers herself/himself.”

The 900-square-foot mural, titled Luminaries: The Coronation, is located on the facade of Girls’ High facing Broad Street. Jane Golden, executive director of Mural Arts, said its vibrance is a reflection of the impact Scott has made as an ambassador for Girls’ High and the Philly arts.

“Her artistry, resilience, and dedication to uplifting our community epitomize the spirit of Girls’ High,” Golden said in a statement. Through the mural, she said, “we honor not only Ms. Scott but also the countless women who have graced the halls, leaving an indelible mark on our world.”

Before the ceremony, “Jilly from Philly” chatted with The Inquirer about her fondest memories at Girls’ High, the hidden powers of “Schuylkill ,” — otherwise known as Philly tap water — and her headlining performance at the Roots Picnic on Saturday. A deep feeling of gratitude shined through her smile. “It’s hard to explain how great this is,” she said. “I am really tickled. ”

The interview has been lightly edited for length and clarity.

How does it feel to have this honor?

It’s really crazy. Wow, I know I should be ready for these kinds of questions because I figured you would ask me how it feels, but it’s kind of surreal. I had such a difficult time during high school. I missed 48 days of school my senior year, primarily because I couldn’t get to school. I didn’t have money, tokens, or anything, and I worked at night. It was very hard. I did not pass math, which was devastating. It meant I couldn’t walk and had to go to summer school. But that’s the reason this is so surreal, it was such a challenging part of my life, but an amazing time as well.

This is the kind of stuff that’s in a lot of fairy tales. I would have never imagined that my likeness or any part of me would be on the side of my dang high school. Never, not one day.

How was Girls’ High?

Girls’ High was beautiful. We had perfect pink marble hallways, and walking down those hallways felt like triumph every day. There were so many brilliant young women, and so many friends I have till this day. It was an extraordinary time for me, I just wish I didn’t have the troubles I had at the time.

What do you remember the most from those days? Any particular teachers?

I have a lot of fond memories, the only problem was we didn’t have any money. But yes, I had Mr. William Murphy, the leader of Treble Clef. You had to audition to be in the Treble Clef Choir, and it taught us Latin, German, and Italian songs. He played amazing music, and took us to the Academy of Music. That’s where I first heard and saw Kathleen Battle. I never heard someone sing so lovely and smile so pretty at the same time.

You grew up here. How did the city make you who you are?

People ask me the question all the time: What makes Philadelphia vocalists? I think it’s the Schuylkill punch, and the fact most of the musicians are coming out of church. I think it’s institutions like the Philadelphia High School for the Creative and Performing Arts, and Treble Clef at Girls’ High. I think all these accumulate to make Philly’s musicians, vocalists, and artists great.

And what about the city’s murals?

I grew up looking at murals my whole life, on every other corner. Murals have been an inspiration just by seeing all those beautiful colors. There was a lot going on in the city of Philadelphia. [But] the murals were uplifting, with beautiful quotes and the faces of people we admired. I’ve always appreciated that.

And the Philly arts community? Does its future excite you?

Of course. I think I’ve touched pretty much every portion of it in the course of my lifetime. All the wonderful time I’ve had performing live, whether it was poetry or singing somewhere. There were so many places, and some of them aren’t here anymore, but they are integral to everything that I am and everything that I’ve done. And oh, the block parties. I used to go to so many block parties. All those things made me who I am.

Can we get a glimpse into your Roots Picnic performance on Saturday? Or do you want to keep everything secret?

I’ll keep it a secret. Just know that I’m thrilled and very excited. I had a wonderful time performing at the Met for the 23rd anniversary of Who is Jill Scott? Words and Sounds Vol. 1 last year. I loved that people walked out singing in the streets. It felt so good.

– The Philadelphia Inquirer

A wholesome rap battle promises cash — and takes a stand against gun violence

In the grueling battle against gun violence in Philadelphia, community leader and activist Sajda “Purple” Blackwell has served on the front lines.

At age 7, she lost her brother, Ronnie Easley, who died of a gunshot wound.

In January 2023, Sideic Robinson, the son of her husband, Thomas Blackwell VI, was fatally shot in Rochester, N.Y., while leaving his job at a local Burger King.

As the owner and operator of the online radio station PQRADIO1, Blackwell realized she had a role to play in perpetuating a trigger-happy culture. Her station played music that glorified street violence. And as death tolls rose, she swore only to promote “positive music on purpose.”

While she still plays urban contemporary artists like Lil Baby, Megan Thee Stallion, and Meek Mill, Blackwell doesn’t play or promote records that glorify gun violence.

Adding to her efforts at reprogramming the minds of local listeners, Blackwell also started the West Philly-based nonprofit Blackwell Culture Alliance Inc., which looks to “build stronger communities, neighborhoods, and economies through educating, donating, and volunteering.” It organizes food distribution drives and other outreach programs.

One such program is the open mic series How Dope Are You?, which Blackwell hopes will counteract some of the pervasive pop culture messages she finds so harmful. .

Since 2021, the monthly rap battle has encouraged local rappers to spread anti-gun violence messages through their music. The competition awards Philly rappers, poets, and spoken word artists with a $1,000 prize, but there are two rules: they can’t use curse words and have to firmly address the problem of gun violence.

“We became very intentional on promoting nonviolent music, and to challenge our young people to make the music they talk about, what they want to hear, and to make it hot. People have really begun to step up to the challenge,” Blackwell said.

Inside West Philly’s Holy Apostles & the Mediator Episcopal Church, the rap battle starts with gun violence survivors and their families locking arms in a “healing circle.” After Blackwell welcomes everyone, the attendees share their experiences.

“Whether we have 50 or 100 people, we’re creating a space for nonviolent music,” Blackwell said leading up to a recent showcase. “And if you can make a song about not killing anybody, then you can come get this ‘shmoney.’”

On May 22, South Philly artist Michael “Mike J” Johnson and nearly a dozen other creators exchanged stories and caring words before setting the stage ablaze.

“It just felt like a real encouraging space,” Johnson said. “Nobody was out for each other. The dynamic was genuine, wholesome, and very supportive.”

Johnson, who was inspired to rap after hearing Nas’ “I Gave You Power” at 8 years old, admits his music isn’t always the most uplifting. Days before the competition, he worked tirelessly to craft a song he felt was up to Blackwell’s standards.

He thought about the victims and perpetrators of gun violence, and how both their lives can seemingly end with the pulling of a trigger. He came up with the song “Let’s Rise Up,” which incited a seismic chant from the crowd in attendance.

“Bro, rise up. Sis, rise up,” the audience screamed. “Bro, rise up. Sis, rise up.”

By the end, Johnson and the other performers were awarded portions of the $1,000 prize. The program — and the camaraderie that was formed among the participants — made it feel more like a family gathering than a competition. There were no losers, Johnson said.

“It’s not just West [Philly],” said Reika Safiyya, a singer-songwriter, teacher, and sustainable clothing designer based in West Philly. “When you’re in Philly long enough, you can see the different dynamics. It’s a city full of art and talent, but the resources and support isn’t always there for people to thrive and live healthy lives. What Blackwell is doing is very necessary.”

Along with reducing gun violence, Blackwell said the open mic shows local artists that positive music can still fuel success. “It perpetuates the idea that the music is not corny, and that there are artists out there who can still survive in the rap game that’s not killing anybody,” she said.

What started as a five-person crowd three years ago has bloomed into a more recognizable open-mic series and family outing with catered food and a fresh lineup of local talent.

There’s been a notable drop in gun violence in recent years. According to the Office of the Controller, there was a 20% decrease in total homicides from 2022 to 2023. And Blackwell likes to think the Blackwell Cultural Alliance played a part in the decline.

Having cared for patients impacted by gun violence, Philly pediatrician and How Dope Are You? supporter Vivek Ashok said Blackwell has inspired him to take a more active approach to advocacy. For any program to be sustainable, he said, it requires a healthy investment from community members and elected officials.

“A lot of these community initiatives, specifically run by Black and brown folks, are not adequately funded,” he said. “I think highlighting the resilience and beauty of Philly youth is critical to understanding this group. And How Dope Are You? does that.”

As the program evolves, Blackwell’s goal is to foster more relationships with local organizations and brands. She hopes the city will fully get behind her campaign for nonviolent music. “We’re here to change people’s outlook on what music can be, and for the music industry to follow suit,” she said. “This effort is boundless. There’s no limit.”

– The Philadelphia Inquirer

The Philly artist who gets mistaken for Banksy

Susan Ferrence was in a rush on a December morning as she passed by Jefferson Plaza at 12th and Chestnut Streets. She was late for a workout session when an image stopped her in her tracks.

It was a stenciled mural of a young child, screaming while wrapped tightly in a straitjacket.

Ferrence, an art historian and director of publications at INSTAP Academic Press, took pictures of the freshly stenciled work with darkened shadows and etched grooves. She told her friends she had just spotted a Banksy.

The “Banksy” turned out to be the work of a Southwest Philly artist who goes by Bad Luck. The 33-year-old, who opts to conceal his identity, had stenciled the sketch of the screaming child on a wood-paneled wall hours before Ferrence walked by it.

The idea for the mural, he says, stemmed from a feeling of restriction, like being bound in a straitjacket. Bad Luck wanted to break free of his thoughts, like the child he drew screaming in enraged silence.

That’s how he’s always envisioned his artwork — as a cleansing of thought and emotion. But the comparison to Banksy is something he says he never imagined or wanted.

“I hate it, man,” he said. “He’s so big, talented, and clever. But if you try to do stencil work, then somehow you’re automatically biting off of Banksy. That’s how people view it.”

Philly artist Bleak, who shares an Instagram page with Bad Luck and assists him on select projects, said the comparisons are “wild.” “We admire Banksy’s work obviously, but we’re trying to be our own thing.”

Bad Luck started out as a graffiti writer before transitioning to stenciling after seeing Banksy’s work, but he wants to avoid being labeled a copycat.

“I’m inspired by him for sure, but not as much as people would like to think,” he said. “He showed me a new way to be able to create things years ago, but I try to find my own style. I try to send different messages, which is why my work can be darker.”

Since long before catching Ferrence’s attention, Bad Luck has been fascinated with the art world, but was forced to admire it from afar.

Growing up in foster care, and bouncing around group homes as a teen, the self-taught artist never attended a traditional art school. In time, Bad Luck said, art became his emotional refuge. He embraced the pain of his challenging upbringing and called himself “Bad Luck.”

If it were up to Bad Luck, he would spend most of his nights drawing on street corners and highway overpasses. But with a full-time job and a separate life as a husband and father, it can be a difficult balancing act for both him and Bleak.

“My wife has definitely expressed concern about cops and safety,” Bleak said. Thankfully, there haven’t been any real run-ins with law enforcement. The only real conflict, he says, has been between stencil and graffiti artists.

“For any art form, Philly is all about being respectful and true to yourself, but [Bad Luck and I] have received a lot of love and a lot of hate,” Bleak said. “Stencil artists don’t mix well with graffiti writers. We’ve heard some good things too, so it’s not completely sour.”

Bad Luck said he’s had graffiti artists spray over his artwork, and he has covered theirs in retaliation.

Despite the criticism and infuriating comments — including being called “Fake Banksy” — Bad Luck said his respect for graffiti artists and other Philly creatives has never wavered.

“The art in the city is unreal man,” he said. “The people here are talented with brushes and paint cans. I feel like that’s real art.” But when it comes to stenciling, he doesn’t see anyone else doing it on a large scale.

Conrad Benner, who’s covered the arts for years under his Streets Dept banner, says there are plenty of stencil artists in Philadelphia. But like many trends in the industry, some rise in popularity or grow more obscure over time. While Philly’s street art generally doesn’t have a recognizable Banksy influence, Benner said, there are definitely stenciling artists in the city other than Bad Luck and Bleak.

West Philly resident Tyquaan Bardlavens is surprised by the Banksy comparison.

Bad Luck’s ability to convey his emotions through his work is what drew in Bardlavens. And as they have become friends, he’s encouraged him to take his street art to wider audiences.

Bad Luck said he next plans to place his work in gallery spaces. He’s still figuring out how to navigate commercial art space, but above all, he wants to deliver positive messages through his creations and be known as “the stencil man.”

“It’s not about the money — I don’t want to get paid,” Bad Luck said. “I want normal people that are in the art world to see my s— on a wall and in an exhibit, and for me to get recognition. Oh, and to not get caught by the police.”

Meet the sound engineer creating Philly’s new sound

Whether it was the Philadelphia Sound of the 1970s, the piercing jams that propelled the neo-soul era, or the inception of gangsta rap, Philly has always been a pioneer in music and culture. It’s home to artists who have gone against the grain, and now there’s a new legion of creatives continuing the tradition.

From Lil Uzi Vert and Tierra Whack to Armani White, Fridayy, D Sturdy, 2Rare, and others, Philly-bred stars are dominating the airwaves.

White’s “Goated” went viral on TikTok, and vocalist Fridayy is one of the most exciting R&B talents of our time. The booming and frenetic pace of D Sturdy’s “Shake Dhat” and Whack’s “Millions — Jumbo Sounds Mix” has added a Philly-style variety to the electro-sound.

This new Philly sound is a mix of pop-rap, trap, and Jersey club music, a subgenre that originated in Newark in the early 2000s.

One of the architects fueling this new creative wave is Ben Thomas. The 27-year-old audio engineer and producer most recently worked on Lil Uzi Vert’s hit “Just Wanna Rock,” which garnered a nod for best rap song at the 2024 Grammy Awards next month.

“There has been a strong emergence of artists from Philly based on the Jersey wave,” he said. “It’s really dope to see them winning.”

Uzi’s record, Thomas said, is one of the many demonstrating the city’s renewed musical charge and influence, beyond its very recognizable R&B sound.

“I think this period of Philly music is beautiful,” said Thomas, who marked his eighth Grammy nomination with “Just Wanna Rock.” “Uzi does a Philly and Jersey song, and then we have major artists copying their style. Also, we have so much talent here. It’s great to see people getting their shine and I’m blessed to play a small part.”

As an audio engineer and producer, Thomas is partly a curator and a connector. He has linked the city’s biggest artists and helped craft their solo or collaborative projects. And through his work with Uzi and other local artists, he has turned the once-regional Jersey club sound into one also helmed by Philly artists, and opened doors for emerging musical talents.

In the years of knowing Thomas, Def Jam signee Fridayy said Thomas has always made a way for Philly artists to flourish. “He’s definitely gone outside the box with a lot of records in Philly,” he said. But his work across different genres is what’s elevated Thomas’ profile.

Thomas, a New York native who moved to Philadelphia in 2009, attended Germantown Friends School and met now-mentor Brandon Jones, the school’s then assistant athletics director and varsity basketball coach.

When Thomas majored in business at Temple, it was Jones who convinced him to change course and pursue music full-time. “When you combine passion and work ethic with a skill set like [Thomas’], the result is what you see today,” Jones said.

After deferring a job offer from Deloitte, Thomas started a makeshift studio inside the basement of his mom’s Mount Airy home. This is where artist Chill Moody began working with Thomas.

Never taking up that Deloitte offer, Thomas met Lil Uzi Vert through their manager and became his dedicated sound engineer for three and a half years.

He recently branched out to pursue audio mixing and songwriting, which has led to collaborations with the likes of Justin Bieber, Bryson Tiller, Jazmine Sullivan, and Meek Mill. Or in other words, “the stuff that’s getting the national attention, like the big stuff,” as Moody puts it.

For Thomas, “It’s just me planting a lot of seeds.” He likes to think he is just “doing me, and that some of the stuff I’m doing is winning. But I also don’t want to be complacent. It’s important to get on the new wave as it changes.”

When DJ Don Cannon met Thomas through Uzi, he was immediately struck by how Thomas studied the business and evolved as an audio engineer. “He was never late and his ear was always tuned for today’s work. It’s something a lot of people would look past,” the Generation Now label cofounder said. “And unlike most engineers and producers, Thomas didn’t smoke or drink; ... [he] used to watch Jeopardy! in his free time.”

“This new phase of Philadelphia music has been brewing since 2015 or 2016,” said Armani White, who shot to fame with his viral hit “Billie Eilish.” “We’ve all been around each other, and in some way crossed paths, and [Thomas] has been in those rooms with a lot of different names.”

As Thomas continues to perfect his craft and pursue songwriting ventures, he wants to put the same energy toward community service and engagement, especially for young students of color. Along with opening the doors of his Kensington recording studio to local artists, Thomas mentors young residents who are a part of GettingtheMAXoutoflife, a community-based program ran by life coach and motivational speaker Maxwell Brown.

“I think he has qualities that will make him one of the greatest producer-engineers of all time across all genres,” Moody proclaimed.

And while Thomas is happy to receive the recognition, and he’s hopeful Uzi’s name gets called on Grammy night, awards are not a source of motivation for him; it’s community itself. “It’s not a one-person show over here,” he said. “There’s a lot of support that allows me to shine, and I’m very thankful for everybody.”

– The Philadelphia Inquirer

Review: Travis Scott shakes the rafters at Wells Fargo Center

In a sold-out Wells Fargo Center, rap star Travis Scott “shook the rafters” on Sunday night, declaring the crowd one of the best he’s faced on his “Utopia — Circus Maximus Tour.”

“Not going to lie, y’all coming for the top-three spot tonight, Philly,” he said.

Backed by pulsating lights and stimulating visuals that flashed across the stadium’s LED screen, the Houston artist’s high-flying antics and crowd-stirring anthems brought fans to their feet as they celebrated the return of “La Flame.”

The tour is Scott’s first since 2021′s Astroworld Festival, where 10 people died in a crowd crush. And it’s been four years since he topped the Made In America festival bill in 2019. But even after the hiatus, Scott hasn’t lost his connection with Philly fans or his flair for high-powered performance.

Before Scott arrived on stage, fans stood on their feet while some watched the Eagles and Dallas Cowboys on their cell phones. But once the fog machined hissed and the arena lights flickered, the “E-A-G-L-E-S” chants from the crowd turned to roars as Scott leaped onto the stage like a WWE wrestler off the top rope.

He glided across the ends of the stage equipped with floating heads or parasails that rose above the 360-degree platform. Scott’s mystifying howls took the crowd on what felt like a musical voyage to outer Earth without a seat belt.

Scott started with the Utopia opener “Hyaena” and shifted to other records from the Grammy-nominated project, including “Thank God” and the Teezo Touchdown-assisted “Modern Jam.”

The rapper-turned-global-star then played favorites from early projects like 2014′s Days Before Rodeo (“Mamacita”) and Rodeo (”90210″) before bringing Philly’s own Lil Uzi Vert to the stage for their Pink Tape collab “Aye.”

While most of Scott’s performance was like a shockwave of visual and musical stimulation, the audio sounded muffled at distinct spots. It was hard to make out lyrics, and the charged momentum dipped whenever Scott picked fans from the crowd to ride the floating parasails.

While it was certainly a moment to remember for the fans, it didn’t add much to the show or aid Scott’s performance — not that he needed it. He, alone, made the show electric.

After Scott wrapped up headbangers like “3500″ and “A-Team,” things got a lot weirder when he played “Circus Maximus,” with three people dressed in ape costumes walking across the stage as Scott roared from its peak.

The second half of the show started slower than the hyper-speed pace of the first. But once Scott got going with “Meltdown” and “Topia Twins,” the concert kicked back into full gear. Scott went full supernova on “Fe!n,” playing the song five times in a row, as fans demanded one encore after another.

Scott continued to tip the arena’s sonic scales with 2018′s “Sicko Mode,” and wrapped up the hour and 45-minute performance with “Telekinesis” as a camera followed him off the stage.

By this time, Philly had slid into his list of best tour stops. “Y’all definitely in that top three spot,” Scott yelled.

Travis Scott Set List, Wells Fargo Center, Dec. 10, 2023

“Hyaena”

“Thank God”

“Modern Jam” (with Teezo Touchdown)

“Aye” (with Lil Uzi Vert)

“sdp interlude”

“3500″

“A-Team”

“Sirens”

“Praise God” (by Kanye West)

“God’s Country”

“My Eyes”

“Butterfly Effect”

“Highest in the Room”

“Mamacita”

“Circus Maximus”

“Delresto (Echoes)”

“Lose”

“Mafia”

“I Know?”

“90210″

“Meltdown”

“Topia Twins”

“No Bystanders”

“Fe!n”

“Sicko Mode”

“Goosebumps”

“Telekinesis”

– The Philadelphia Inquirer

Meet the Philly artist who counts Shaq, Kevin Hart, and Brooke Shields among his fans

Long before the work of Justin Wadlington was placed in world-renowned gallery spaces, and he had Shaquille O’Neal, Brooke Shields, Kevin Hart, and other celebrities on his client list, the Philadelphia-bred artist learned to master another medium: the art of perseverance.

By 2009, Wadlington was worn by the grind of his 9-5 airline job, and it had been five years since he picked up a pencil and sketchpad. But a trip to Cancun reignited his artistic flame. Inside his job’s break room, he began sketching an image of a figure enjoying a beachfront, with a photograph of himself in the Mexican city as a guide.

His coworkers glanced at his work and were in awe of his abilities. That was enough for Wadlington to renew his pursuit of making it as an artist. “I made a promise to myself: get back into this and see what you can do with it. And ever since then, I kept trying to push the limits.”

As a kid, Wadlington submitted sketches of X-men characters to his school’s drawing competition. His high school teachers were some of the first to spot his artistic talents, and they placed his work in the building’s auditorium for a mini art show. “Back then, I knew I could draw, but I didn’t think it was special,” Wadlington said. “I just knew I could draw cartoons, but I never knew it was something beyond a hobby. I didn’t look at it as a passion, but it was.”

Growing up in Southwest Philly, survival was his main focus. His artistic pursuits fell to the background.

At 5, he accidentally ran into a piece of metal sticking out from a wall, and the devastating blow left him blind in his left eye. Wadlington’s mother struggled with mental illness and was later murdered in 2004. His father, a Vietnam War veteran, died by suicide when Wadlington was 2 years old. His grandmother raised him, but when she could no longer care for him, he was in and out of group homes until he was old enough to live on his own.

He enrolled in the Community College of Philadelphia in 2001 but dropped out after one semester. “Nobody was around as successful artists, so I felt like I had to get a job,” he said. “I looked around, but I knew Disney wasn’t going to hire me.” He worked up to two jobs a week to make ends meet, and over time, the desire to become a sought-after painter disappeared.

That moment in the American Airlines break room led him back to his creative path. Wadlington, inspired by England-based hyperrealist artist Kelvin Okafor, began sharing his detailed drawings of hip-hop artists and cultural figures on social media. Soon, he would put down the drawing stencil for a painting brush.

He was “self-conscious” about his left eye for a while, but the 40-year-old artist says it’s become one of his “strengths.”

“When I was younger, sometimes people would make fun of [my eye], and I used to feel some type of way about it,” he said. “But once I got older, started taking life into my own hands, and embracing the negativity, I began to show it more. I no longer hid it behind sunglasses.”

He took on the moniker Blind Eye Artist as a “reminder that I’m embracing something I was once ashamed of.”

As he refined his style on canvas — detailed images of pop culture icons, athletes, and artists against a Renaissance-style backdrop — Wadlington began gifting his work to high-profile entertainers, including Amber Rose, Joe Budden, and others. In 2017, one of his friends said they could get him in touch with Kevin Hart, so the artist worked on a portrait of the comedian for weeks, and was able to send him a large-scale painting.

Struck by the detail of Wadlington’s work, Hart posted the portrait on his Instagram. “Your talent in your craft is ridiculous man. I’m humbled by your gesture. ...This is the true definition of a #DopePic,” his caption read.

The post caught the attention of Shaquille O’Neal, who asked Wadlington to draw a portrait of him. In February 2018, the artist flew out to Los Angeles to hand the 7-foot NBA Hall of Famer the portrait, and another painting that paid tribute to the late Notorious B.I.G. Impressed by Wadlington’s talents, Shaq introduced him to New York-based art investor Glenn Fuhrman.

“I got the sense pretty quickly that he was a pretty special guy and definitely different and also a super talented artist,” Fuhrman said, “and that was really the beginning of a great relationship.” He and Wadlington quickly formed a mentor and mentee relationship.

With Fuhrman’s guidance, Wadlington began showcasing his abstract paintings in New York gallery spaces, schools, and museums, including the New York Academy of Art and the South Hampton Art Center in Long Island. His life and artistic journey soon struck Philly filmmakers Ashwin Chaudhary and Jonathon Korn of Juice Groove Films.

The two filmmakers wanted to make a short film around the Philly-based artist, but, Chaudhary said, the film quickly turned into a full-length feature. “He was larger than life when I first met him,” Chaudhary said. “Off the bat, his journey and how he got to where he is was just so compelling.”

The documentary, titled Blind Eye Artist, was primarily filmed between 2020 and 2022 and captured Wadlington’s roots in Southwest Philly. The film was released on Amazon Prime in October. “To witness the power of his art in transforming his life, it’s a story that will motivate anyone who wants to accomplish anything in a creative medium of any kind,” Korn said.

In the years he’s been in the art world, Fuhrman said many have fallen to their vices and life traumas. Wadlington, he said, could have easily fallen in the same trap. But because of his hard work and dedication to the craft, he’s never let it happen. “He’s got a great combination of talent, passion, and belief in himself that I think the sky’s the limit for him,” Fuhrman said. “I think he can go very, very far on this path that he’s taking.”

While he’s still carving his path, Wadlington said he wants to continue expanding as an artist and push the boundaries on all creative levels.

“I want to do impossible stuff, and I want people to see that they can do impossible stuff, too, regardless of where they come from or if they’re blind in one eye,” he said. “This is bigger than me, and I’d be doing people a disservice if I stopped going.”

– The Philadelphia Inquirer

The chipped pieces of Isaiah Zagar’s fallen mosaic are trinkets of Philadelphia’s history

Isaiah Zagar’s famed mosaic, Skin of the Bride, has seen its last days.

For more than 25 years, the 7,000-square-foot mural wrapped around the former Painted Bride Art Center. But on Thursday, Philadelphia’s Magic Gardens’ restoration team finally chiseled away the remaining tiles and gathered usable pieces with hopes of creating a memorial honoring Zagar and the original mosaic.

After hearing that tiles would be available for people to pick up at the mosaic site, Fishtown resident Jenna Countie knew she had to make a trip to Old City.

“As soon as I saw the announcement … my brain immediately was like, ‘Alright, I need to get my hands on some of them,’” she said. “I didn’t know what I was going to do with them; I just wanted to keep them somewhere.”

Countie remembered seeing Zagar’s work along the streets of South Philly in her youth, but it wasn’t until she wrote a research paper on him in college that she fully realized his artistic genius. As the years passed, she continued to marvel at Zagar’s work and dedication to his craft. Once news about Skin of the Bride’s destruction made its rounds, it was a “massive blow” to her. “It symbolizes how the city doesn’t prioritize art,” she said. “It’s really a sad, sad moment.”

Countie intends to turn Zagar’s tiles into a picture frame, but if they’re hard to assemble, she will put them in a shadow box with a picture of the mural. Then she will attach a plaque with Zagar’s name and include a little description of the mosaic so she can see an inkling of Philly history every time she passes by the box, just as she did walking the streets of Old City.

“They’re not just tiles, it’s really a piece of art and history because it’s been here so long,” Countie said. “[Zagar] is 84 years old. He’s probably not going to be making more art like this, so this [is] cool and personal to have — even just a few pieces of it.”

PMG events and marketing manager Allison Boyle said the organization is moved by the support of the greater community and the reverence residents like Countie and others have for Zagar and his work .

“We know Zagar’s work is a part of the fabric of Philadelphia and helps to make this city such a special and unique place to live and visit,” Boyle wrote in a statement. “It’s our hope that all those who have been touched or angered by this story will contact their city representative and ask them to recognize the importance of Zagar’s art to Philadelphia, and join us in fighting to save future murals from destruction.”

Zagar worked 12- to 15-hour days for nine years to create Skin of the Bride, one of the largest public murals of his storied career. Developer and architect Shimi Zakin wanted to preserve the full mural and build apartments above, but neighbors sued to stop the city from granting him the zoning exceptions he said he needed.

Considering the history of the site and her experience getting to know Zagar over the years, Tracy Buchholz said she couldn’t help but grab some tiles to place in her office.

“I met [Zagar] nine years ago, and I watched and photographed him creating mosaics across the city,” said Buchholz, who works for the company that supports PMG’s public relation efforts. “He doesn’t just slap these things against a wall. They come alive piece by piece, resulting in something beautiful.”

Holding onto tiles from the mosaic is important for her “because I understand what went into it. [Zagar had] so much passion and love for the Painted Bride and for the community.”

“His work is meant to be shared, discussed, and appreciated. Walking past any of his work makes me smile on a bad day and get creative on a good day,” she said.

Countie is hopeful the city will rally together to preserve Zagar’s remaining work. His art makes people appreciate Philadelphia’s “imperfections,” she said, and it’s important the fight to protect his work continues.

– The Philadelphia Inquirer

Meet Jason Kelce, summer student at a grazing farm, and perhaps a future rancher

Nagging postgame injuries, childhood memories, thoughts of retirement, and those fiery “Go Birds” chants: It was all captured in Kelce, a new Prime Video documentary starring Philadelphia Eagle Jason Kelce.

The 102-minute film, which premiered Tuesday, follows the all-pro center before the 2022 NFL season to the months after the Eagles’ historic run to Super Bowl LVII. Outside the grueling demands of the gridiron, and the moments spent with his wife, Kylie Kelce, and their three daughters, the doc shows Kelce exploring a surprising offseason interest.

When his days of hitching the ball to quarterback Jalen Hurts are done (and we hope it’s no time soon), Kelce might put his farmer hat on and spend his free time neutering bulls.

On the first episode of Kelce’s podcast New Heights with brother and fellow NFL star Travis Kelce, he talked about having a particularly “fun” offseason back in 2022. “You asked me what I did this offseason. Have you cut a bull’s nuts off? No, I don’t think you have,” he said.

Near the 24-minute mark of the doc, Kylie Kelce also talks about her husband’s farming endeavors in Missouri. The film then cuts to the six-time pro bowler grabbing a name tag and joining a beginner’s grazing school session led by cattle rancher Greg Judy.

In May 2022, Jason Kelce flew out to Clark, Mo., to meet Judy, who owns and leases 19 farms across the country, for his annual spring grazing school at Green Pastures Farm. Over two days, Kelce learned the fundamentals of sheep and cattle rearing alongside other beginner ranchers.

When he first met Kelce, Judy said his hand disappeared in Kelce’s massive mitts. Despite his physical stature, and growing popularity as a beloved Eagle, Kelce was as “humble” and willing to learn as much as anyone he’ has ever taught, Judy said to The Inquirer.

“Jason really blew me out of the water,” said Judy, a three-time author and popular YouTuber. “He’s just a learner. I think that’s why he’s so successful as far as being a football player. He’s willing to do the work.”

When Judy asked what drew Kelce to regenerative agriculture, which focuses on an eco-friendly, grass-based grazing system, the NFL star told him he wants to enjoy healthier foods and introduce his daughters to farming.

Judy, a die-hard Kansas City Chiefs fan, said it was hard watching his team beat the Eagles last season. “I almost felt like Mama Kelce during the Super Bowl,” he joked.

The connection between Kelce and Judy was made by Ann Demerath, the office manager and secretary at South Poll Grass Cattle Association, which maintains the record and registry of that particular breed of cattle.

As intentional as Kelce is on game day, Demerath said he’s as laser-focused when it comes to regenerative agriculture. And she knew having him meet Judy would set him up for success, and open his and others’ eyes to the possibilities of farming. “[Kelce] doesn’t go into things halfheartedly,” she said. “If he’s going to invest his time, he’s going to give it his all.”

As Kelce continues to learns the ropes of farming, Demerath said his presence can shed more light on the process of regenerative agriculture and clear any misconceptions about the practice.

“Somebody with [Kelce’s] influence to take on regenerative agriculture, and to show people that animal agriculture is here to support and heal the planet, is really important,” she said. “I think it’s super cool that [Kelce] is a part of this, and that he wants good food, he knows where it’s coming from.”

While Kelce is back for another NFL season, Judy looks forward to the day he gets invited to Kelce’s future farm, either in Missouri or near his home in Philadelphia.

“He talked about how he’d like to have me come in to consult on his farm, just to make sure [he’s] got the fencing, the water, and the livestock set up. I’m looking forward to that and seeing how it goes.”

– The Philadelphia Inquirer

8 Exciting Sets From The 2023 Roots Picnic: Usher, Lil Uzi Vert, Lauryn Hill & More

For 15 years, The Roots have gathered the music’s brightest and fastest-rising talents to perform in Philadelphia for their annual Roots Picnic, and this year’s lineup was nothing short of star-studded. 

After kicking off the weekend with Dave Chappelle’s comedy show at the Wells Fargo Center on Friday, the action moved to the Mann Center in Fairmont Park where fans witnessed surprise crew reunions, unexpected cameos, and a taste of the Las Vegas strip across three performance stages. 

On Saturday, legendary rap group State Property reunited for the first time in years, Lil Uzi Vert rocked out with the Park Stage crowd for his third picnic appearance. Supported by the Soulquarians, legends the Isley Brothers and Roy Ayers lit up the Park stage. Lauryn Hill closed out day two by commemorating her GRAMMY-winning album, The Miseducation of Lauryn Hill, and bringing out Pras and Wyclef Jean for a Fugees reunion. 

Sunday featured high-powered performances from soulful songstress Ari Lennox, former Ruff Ryders first lady Eve, and the devastating femmes of South Florida, the City Girls. Philly’s own DJ Drama drew out home-grown talents like D-Surdy, Armani White, and Bronx legend Fat Joe on the Presser stage. 

To close out the weekend, Usher brought the magic of his Vegas residency to West Philly for a string of era-defining hits in the twilight of the festival. Read on for some of the most captivating moments and exciting sets from the 2023 Roots Picnic. 

GloRilla Shines In Roots Picnic Debut

Unapologetic rebel GloRilla may have just one EP under her belt, but her growing fandom came alive during her Roots Picnic performance.

The Presser Stage crowd swooned along with femme-empowering smashes like "Phatnall," as well as more provocative songs like "Nut Quick" and "Lick or Sum." Legions of newly single fans  screamed the lyrics to crunk hit "F.N.F. (Let’s Go)." 

Big Glo kept the momentum going at high speed, loosening the relatively stiff crowd. And while Cardi B wasn’t present for her part in "Tomorrow 2," GloRilla brought out an energized and visibly pregnant Chrisean Rock for a twerk-worthy cameo. 

GloRilla truly embraced her rowdy nature and southern charm, which has helped her earn garner recognition from her peers and even notch her first GRAMMY nod for Best Rap Performance. 

Usher Brings Sultry And Sin To The City, With A Few Special Guests

Before Usher had even closed out the festival, radio and podcast personality Charlamagne and comedian Jess Hilarious talked about wrapping up their own event early to snag a close seat to watch the R&B star in action.

Though decades into his musical career, Usher hasn't missed a step. Dressed in leather, the eight-time GRAMMY winner delivered his classic, slow-burning album cuts and glossy radio hits under the glimmering lights of the open air Park stage. 

Usher put on an electrifying performance that covered hits from various eras in his catalog. Songs like "Love in This Club," "U Don’t Have to Call," and "Lil Freak" had Sunday’s crowd staring in awe, even for those looking to get ahead of the departing traffic. He also brought The Roots on stage before Philly natives Jazmine Sullivan, Eve and Black Thought joined the singer to perform "U Got Me." 

Lauryn Hill (And Some Famous Friends) Took The Crowd Way Back 

Lauryn Hill’s reputation precedes her. Some fans joked about her tardiness — or even potential absence — but the legendary vocalist arrived about 30 minutes past her scheduled set time and put on a performance that was met with shockwaves of cheers.

Hill's headlining performance coincides with a big milestone: the 25th anniversary of her groundbreaking album The Miseducation of Lauryn Hill. "Even though it's been 25 years, everything is still everything," she told the enlivened crowd. 

She performed tracks from the masterful GRAMMY-winning album, including "Everything Is Everything" and "When It Hurts So Bad," but perhaps the biggest surprise throughout the weekend was the reunion between her, Pras and Wyclef Jean. The trio came together as the Fugees to perform hits "Ready Or Not" and "Killing Me Softly" for a spirited celebration of the group’s 1996 album The Score. 

"We’re out here doing 25 years of Miseducation. But there’s another 25 years we didn’t do a couple of years ago because of COVID," Hill said of the group’s project. The group closed out with "Fu-Gee-La," with Hill switching from her soothing alto to her "L-Boogie" persona of old, bringing the joyous crowd to its knees. 

City Girls Bring The Twerkers Out To Play

The City Girls brought headliner energy to Sunday’s picnic, with JT and Young Miami inciting a twerkathon with hot summer girl anthems like "Act Up" and "Do It On The Tip" playing out center stage. 

The Miami duo kept the energy high with on-stage twerk moves, pulsating hits like "Twerkulator," and efforts to draw out the crowd’s inner act-bad attitude by screaming: "If you’re a bad bitch, say, ‘Hell, yeah!’" And by the end of the group’s performance, fans were left with a racing heartbeat or sweating from the constant flow of high-powered hits and go-get-him-girl records. 

Lil Uzi Vert Knows What The City Wants

Now in their third appearance since 2016, Philly native Lil Uzi Vert took to the Park stage on Saturday, bringing enough bass and adoring screams that could be heard across Fairmont Park. 

 "I ain’t going to do too much talking. Let’s do it," they said to the roaring crowd. While Lil Uzi’s voice occasionally drowned in a song’s instrumental, their effortless magnetism and signature shoulder roll dance brought excitement to the growing crowd. 

The rumblings of hits like "444+222" and "Sauce It Up" rang in fans’ ears, and songs like "Money Longer," and the Diamond-selling smash "XO Tour Llif3" nearly turned portions of the crowd into mosh pits. Lil Uzi’s performance came to a welcomed halt when fans were invited to the stage to dance to the massively popular "Just Wanna Rock," which has become an unofficial anthem in their hometown. "I’m in the city, this they s—."  Fans pulled out their phones as the rap star capped off the set with the viral hit. 

Lucky Daye Drips In Allure

Only a year removed from his breakthrough album, Candydrip — a genre-drifting and soul-stirring project riddled with pop and R&B hits — Lucky Daye has risen to star status. And with songs like "Real Games" and "Late Night," it’s easy to be drawn to the New Orleans-born artist. 

While initially draped in glimmering red garments, it didn’t take the artist long to strip down (well, shirtless, that is), and render impassioned vocals over the cheers and screams of his admirers. He dove into songs across his various albums and fell to his knees to deliver a burningly passionate rendition of "F—kin’ Sound" before the 37-year-old vocalist exited the Mann’s amphitheater stage.

Ari Lennox Conjures Soul In Comforting Fashion

It’s unclear if Ari Lennox still has plans to step away from the touring circuit for good, but if her Sunday evening performance is any indication,  her presence would be sorely missed. The "Shea Butter Baby" vocalist conjured every fragment of her soulful and poetic artistry, bringing vibes despite having a slight cold.   

The DC-born R&B singer danced to the flowy breeze setting over the stretched-out crowd while singing favored tracks like "New Apartment," as well as "Waste My Time" and "Pressure" from last year’s Age/Sex/Location. Lennox encouraged fans to close their eyes and sway their hips, and many raised drinks as Lennox’s soothing voice and sultry lyrics wrapped around their bodies.

Busta Rhymes And Eve Come To Devastate

Joined by The Roots’ Black Thought, Busta Rhymes and Spliff Star tore down the Park stage, even with distracting audio woes hindering the early part of their set. Shot mic or not, Busta’s lion-like voice could be heard from yards away as he spewed the lyrics to "Put Your Hands Where My Eyes Could See" and A Tribe Called Quest’s "Scenario" to a cheering audience. 

Eve arrived during the latter part of the DJ J. Period curated set. The former First Lady of Ruff Ryder burst onto the stage and held her own alongside the fellow hip-hop heavyweights. As she swayed the crowd with songs like "Tambourine" and her verse on the late DMX’s "Ruff Ryders Anthem (Remix)," it harkened back to her days as a lyrical wild card in the early 2000s before she ventured into acting and hosting gigs. 

– GRAMMY.COM

Who is ‘irregular’? Meet the artist behind the tag showing up all over the city.

On the face of eroded barricades, rotting alleyway dumpsters, dark under-passes and window-sized wood panels, the word “irregular” has become an increasingly regular sight for Philadelphians — and a mark of artist Sean Hassett’s growing presence.

Hassett, who goes by the moniker “Irregular” or “Irregular Sean,” has spray painted and penned his graffiti tag across the outskirts of West Philly to Chinatown, Spring Gardens, Brewerytown to the beating heart of Center City. Yet, his identity and motive are largely cloaked in mystery.

“I have no backing and there’s no system that I’m part of that’s helping generate what I’m putting out,” Irregular said to The Inquirer.

“I’m trying to show people that you don’t have to take the normal route, you can do it on your own.”

While he was drawn to the word “irregular” as a kid growing up in Darby, he didn’t put his talents to the canvas until he was released from George W. Hill Correctional Facility after a one-year stint in 2013.

While incarcerated, Irregular befriended an inmate who used to draw images on the letters he wrote to his loved ones in exchange for soup cans. Before the man was released, he gave Irregular all of the stencils and art tools he used to craft his work. That moment, he said, opened the door for his own artistic pursuits.

“Coming home with that record and no college degree, (it) pushed me to devote myself to my craft,” Irregular said.

Over the years, Irregular started creating acrylic paintings and mosaic-style works made from fragmented mirror pieces.

In 2020, the now-33-year-old artist began spraying his graffiti tag across Philly. He was partly inspired by the protests following George Floyd’s murder and the work of Germantown artist Nomad and Ghuls creator Lami Tolla. and he says his style and approach is influenced by Banksy and Basquiat.

Though he documents his art on Instagram, Irregular does not post pictures of himself on social media. (He did not agree to be photographed by The Inquirer.) He says he usually only leaves home for daily necessities and to sell and make his street art.

“I’m very withdrawn, and I’ve been very solo in what I’ve done over the years,” he said. “I’ve stuck to myself, and I don’t get into politics or institutions of the art scene... I try to contain my energy as much as I can. I think what I’m doing has some power to it, and I’m not trying to withhold it.”

When he peeks his head outside his home studio, he’s usually decked in paint-spotted garments, riding his bike with a spray paint can and white-out pen stashed inside a mid-sized pouch in pursuit of a new location for his work. In a matter of minutes, he coats the nine letters of “irregular,” and ducks off slyly without drawing attention.

“I just move with common traffic,” he said. “I like to say I move with the wind.”

He still sells his work in Rittenhouse Square, but tries to stay in the background and doesn’t approach onlookers until he sees a “magic moment” happen.

“I always wanted to create things that sell themselves on the street,” he said. “I don’t say, ‘Hey, look at this,’ or have a sign telling people to buy my work. I just stand a couple feet away, lean up against a pole and observe.”

Along with graffiti and mirrored artwork, Irregular sells mystery boxes, deep profile canvas and wooden-framed paintings on his website, with pieces ranging between $100 to $2,000.

It’s impossible to know how many tags he’s placed in the city. He stopped counting years ago but still feels a rush of leaving his mark. It’s like psychotherapy, he said, motivating him to satiate his appetite for more artistry and self-expression.

He views his work as a source of reflection, with the mirror pieces and word “irregular” serving as a symbol of self-identity and a magnet that draws a connection between him and the viewer. But rather than being packaged as a “street artist,” he prefers no title at all. “You can’t put a spotlight on a star. I’m just doing the work. Irregular is a statement, (and) the work emits a light of its own.”

Some Philadelphians view his tags as playful breadcrumbs. Some see it at as a link to a thought-provoking series, and others — especially on social media — see it as vandalism. “Artfully committing vandalism is still vandalism,” a Twitter user said.

I take objection to the term “artist”. He’s a criminal. Artfully committing vandalism is still vandalism.

— JohnsCow (@johns_cow) April 10, 2023

I dunno. Ask the “artist” to tag your front door.

— TappahannockName (@Allfortime0503) April 10, 2023

Resident Peter Gambino, however, welcomes this art.

“Philly has such a big and diverse art scene, so we might as well have a few mystery people working in that space,” said Gambino who first spotted Irregular’s tags six months ago. “[His work is] like little easter eggs placed along the infrastructure of our city.”

Other onlookers aren’t too fond of Irregular’s work . “I hate their tags,” says Philly resident Alex Fredericks. “(They’re) too long and aggressively style-less.”

Despite the mixed responses from passers-by, Irregular has become a sought-after talent in Philly’s art scene. He created two projects with Mural Arts Philadelphia. The first was a temporary mural for last year’s Wawa Welcome America; his work Mural Magic is irregular was featured at the 2023 Flower Show.

He was also tapped by Hyatt Centric Center City to be a part of the hotel’s monthly Maker Series back in January. Elizabeth Fricke, director of sales and marketing at HCCC, said Irregular’s approach to street art made him a natural fit for the series that spotlights the work of local artists.

Photo blogger Conrad Benner, who worked with Irregular on the Mural Arts projects, called Hassett an innovator. “He’s at this point in his career where all the doors are open to him, and he’s jumping through them,” he said. “That’s to say, he’s driven and taking advantage of this lane he’s made for himself.”

An “irregular” tag along 11th St. by Spring Garden in Philadelphia.Heather Khalifa / Staff Photographer

As more opportunities come along, Irregular said he will continue to etch his path as an independent artist, and break down barriers that may be in his or other artists’ way.

There’s no set direction in mind, he said. For now, he plans to sell more of his artwork and hopes to expand his brand globally.

“I’m not a starving artist, I’m a hungry artist, and myself and others know there’s much more potential past these walls,” he said. “I’m continually pushing myself, trusting my evolution and allowing everything to come my way. I want to stay on my trajectory and see Irregular grow 10 times bigger.”

– The Philadelphia Inquirer

6lack Feels Good To Be Back In Motion

In the five years since his last album, 6lack has been on a voyage of rediscovery. While hits like “Ex Calling” and “Prblms” established his penchant for moody and atmospheric tales of heartbreak and loss over mid-tempo jams, the East Atlanta artist has taken on a new creative direction.

Veering from his grayscale vocals and mellow-tone raps, his new album, Since I Have a Lover, unlocks a chamber of new inspiration both musically and on his own personal journey.

“Time has been a little bit of a loop,” 6lack tells MTV News over Zoom. “It was a lot to learn. It was a lot to handle in my personal life. It was a lot to mature and grow from. And I think that the weight of having people waiting on you is something that you can't really ignore. It's not like it doesn't exist, so it feels great to have that weight off and to just be back in motion.”

On Since I Have a Lover, the airy vocals of the artist, born Ricardo Valdez Valentine Jr., float over breezy, pop and acoustic-driven instrumentation on “Chasing Feeling” and “Wunna Dem,” and 6lack flirts with dance (“Temporary”) and wallows with Caribbean, beach-front tunes on “Decatur,” allowing his artistry to roam free.

“I think it's been super important to grow in between each project, and not even just musically, but personally,” he said, referencing the “moody” tenor of his 2016 debut, Free 6lack. “It felt like somebody trying to figure their way out of the situation, and East Atlanta Love Letter started to peek at where we could go with it within the realms of R&B. I think this album production-wise allowed me to express every feeling that I feel. Some days I might feel more pop or [alternative], and some days I might feel more traditional R&B or rap. It varies and it kind of plays to how relationships vary — everything isn't just one feeling or one color.”

The 19-track offering is an exercise of 6lack’s versatility. He melds inklings of his Atlanta trap roots with guitar-strumming and flowy tracks, all revolving around themes of self-healing (“Spirited Away”), positivity, and the mystifying powers of love on “Preach” and “SIHAL.”

For 6lack, this new direction was a “gradual blossom.” While there were cookie crumbs on 2020’s 6pc Hot EP that pointed to this more immersive effort, the Baltimore-born artist said the new album’s title, partly inspired by his relationship with R&B singer Quin, helped spark a new flame. It also drove him to create an open letter to his fans, which he hopes answer the questions that have loomed in his musical absence.

“I feel like the title more than anything it’s a response,” 6lack said. “It kind of serves to answer every question. Like, ‘Where have you been? What have you been doing? What's the theme? What's been inspiring you the most? Why haven't you been outside?’ Any question that you could possibly ask me, I think ties back to the title Since I Have a Lover. Having to be accountable for yourself is one thing, but having somebody next to you who can really look at you and see you for what you do right and what you don't do right and tell you just a hundred percent straight up, that helped me really hone in on where I wanted to be in my personal life and where I wanted to be creatively. It was like, ‘OK, I got to get my shit together. And once my shit is together in my personal life, then I know that will help inspire what I make music-wise.’”

But the shift was no easy feat. To embrace his new sound, he had to let go of the sorrow, regret, and heartache he internalized for Free 6lack and his romantic skepticism and stories of failed love quests that bled into his second effort. Once those thoughts were steered, once he focused on the treasures of his newfound relationship, and once he waived his past transgressions and mental blocks, 6lack sank into a new music-making paradigm, and the album poured out and turned into sonic gold. On “Spirited Away,” he says: “You know I got my vices, on the real / No, I ain't always nice, but I’m always real / It’s gonna take me some time to break off my pride / But I’m learning to show up, learning to slow up.”

“The process was only hard when I was resistant to change and to acknowledge that my life is different now,” he said, referencing how he’s stopped letting others’ perception define his personal and artistic growth. “I’m not sulking, I’m not depressed, and I’m not going through what I went through in 2016. If you even try to start a song that way, you might as well stop because that's just not it. And if you continue, that's what we call perpetrating, and I'm not here to portray anything for a specific award or category. I just want to make what's true to me.”

6lack’s sonic transformation was one he felt both he and his fans needed. In a world where negativity draws headlines and tilts the algorithm on its scale, the 30-year-old artist said it’s his responsibility to share notes of positivity. And on Since I Have a Lover, he never falls short of his mission.

On “Preach,” he raps: “Who am I to capitalize without giving back? / We all human but I can’t go a day not feeling Black / I made my money, but to my audience, I’m still attached / It’s like I know the whole world just wants that feeling back.”

“I think that the toxic theme has been populated and I think that it is honestly a lot easier to pull from depression, from heartbreak and breakups. And to me, that's easy,” he said. “It's harder to talk about good things. It's harder to make that translate or resonate with people. It is harder to make that sound cool. The world is only getting crazier, so if I can be at least a portion of the good that's coming out, then that's my job.”

His exploration doesn’t end with SIHAL. Along with feeding his current inspirations, the “Float” artist plans to collaborate with Quin, the very lover that inspired the new album title, and possibly lock in with Spillage Village group-mate JID for an upcoming collab project.

“I'm just going with the process, but I hope it continues to be something different,” he said. “I don't ever want to make the same album twice. I don't want to be in the same bag twice. I'm not telling the same story twice. There will never be a Free 6lack 2 unless I end up in a situation that puts me there, and let’s hope I don’t have to because that’s not what we’re looking forward to at all.”

– MTV News

Breaking barriers and opening doors: Philly artists are finding new spaces to showcase their creations

Few spaces are as essential to Philly arts as the city’s history-rich museums and art galleries. The institutions house some of the most prized artifacts and antiquities in the country, and serve as a domain for unknown artists to become international fixtures.

But for Lauren Fiasconaro and other Philly-based creatives, the barrier to entry is often too steep, forcing many artists to turn to local cafés, restaurants, bars, and other alternative spaces to showcase their artwork.

“This is definitely something that’s been cropping up more and more,” said Fiasconaro, 30, who’s currently displaying her cyanotype photography at Northern Liberties’ Mammoth Coffee. “More than half of my ideas came from seeing artwork in places that I wasn’t expecting, and there’s some amazing work in places and venues you wouldn’t expect.”

Philly sculptor Jonathan Santoro, 39, said local artists have taken matters into their own hands.

“Groups of artists are growing tired of white cube galleries and rejecting the status quo while being intentionally anti-commercial,” he said. “More artists are taking the reins and displaying their artwork how they want.”

Rather than wait for spots to open at established art institutions, artist Sue Moerder began hosting small showcases in hair salons, restaurants, bars, and even pet shops under the group philacitywithart. She started the 500-member Facebook page to forge more opportunities for local artists to display and sell their work without having to jump through hoops to get into galleries and museums.

Moerder, who makes sculptures from animal skulls, said the city is flooded with local talent, but the exclusivity of certain spaces has led many artists to seek other ways to sell their work and make ends meet.

“Galleries are great, but they’re very hard to get into,” Moerder, 62, said. “I think one of the harsh realities of being an artist in Philadelphia is that many people can’t survive solely doing their art. Most have to work to support it, which is a shame because there are too many talented artists. And when you’re exhausted and you’re mentally drained, it’s hard to create. It’s frustrating.”

Recognizing the shortage of accessible art spaces, Gleaner’s Cafe owner Stephen Hencheck fills the shop’s walls with the work of local artists as a way to spotlight the city’s talent and build the confidence of newer creatives hesitant to display their designs.

With the cafe’s name partially inspired by Jean-François Millet’s painting The Gleaners, Hencheck said the decision to add these works was an important one. Not only has the move drawn more eyes to local artwork, it’s helped struggling artists fully profit from their creations, rather than fight for higher commission splits in more traditional spaces.

Hencheck allows creatives to fully profit from their work, while more notable galleries have commission splits that teeter between 30% and 50%, he said.

“We just try to keep a starving artist from starving so we can look at their work,” Hencheck, 44, said.

“If your business is your community, you should make it your business to support that community. That doesn’t apply to everyone, and it doesn’t have to. If creativity and culture are what you believe your base is and what makes the neighborhood your business is in, why wouldn’t you try to support that?”

Through partnerships with nearby galleries, the Fitler Club is combining the influence and resources of established spaces to fuel its own alternative venue.

The urban social club has Philly-made pieces throughout its center, a move Visual Arts Director Tricia Maloney said has connected the club’s members to the city’s creative forces, and given more local artists a platform to spread their wings.

“Our hope is that there may be a lower barrier to entry to engage with the art in a place like the Fitler Club,” Maloney, 41, said. “It’s not a gallery — we tried to take that intimidation factor out of the equation, even to the extent that I coordinate the program and I don’t have an arts background. It’s really about relationship building.”

Fitler Club cofounder Michael Forman said the addition of alternative art spaces doesn’t diminish the importance of established art institutions in Philly. It’s an added way to support local creatives and place a brighter spotlight on the work they produce.

Along with the Gleaner’s Cafe and Fitler Club, Fiasconaro said venues and organizations like Persimmon Coffee, Underground Concepts, and Feminist Flea are opening doors for artists in the LGBTQ and Asian American and Pacific Islander communities, as well as others that have been marginalized by their race, ethnicity, sexuality, and identity.

Having these spaces, Fiasconaro said, is key to a more inclusive and well-rounded arts scene.

“Historically, gallery spaces are and can be very inaccessible for a lot of people,” she said. “I have definitely encountered that as well. But I’m seeing more inclusivity in this trend of alternative spaces, which is amazing. It’s been a long time coming.”

Fiasconaro is hopeful more opportunities for artists of all creeds will open up in museums and galleries. And as Philly creatives continue to carve out nontraditional platforms, the artists and businesses receive the support they deserve.

– The Philadelphia Inquirer